The Bundesjugendballett Jon Neumeier stands for curiosity, openness and the power of dance to reach people everywhere. Founded in 2011 by John Neumeier and based in Hamburg, the company brings together eight international dance talents aged between 18 and 23 who have already completed their professional education. Kevin Haigen is responsible for artistic and educational direction.
As an ensemble without a permanent venue, the Bundesjugendballett deliberately seeks to break out of the classical theatre space. With great passion, it brings ballet to unusual venues and opens up new perspectives on this art form. Whether on renowned theatre and festival stages, in clubs, swimming pools, schools, social institutions or in unusual locations such as the roof of the Reichstag or in a prison, dance becomes a public, social and immediate experience.
Artistically, the ensemble combines works from ballet history with contemporary positions. It works with choreographers of different generations and styles and also sees itself as a platform for promoting young choreographic talent. This creates a lively dialogue between tradition and the present – open, flexible and close to the people.
With sincere thanks to Gabi Thorbecke for her big support!
Thomas Mann once described Leo Tolstoy's Anna Karenina as ‘the greatest social novel in world literature’. John Neumeier was also deeply fascinated by this work when he read it – by the main characters and the plot structure, but also by the extraordinary variety of thematic connections. It is the story of three families.
John Neumeier says: "Tolstoy himself wrote Anna Karenina as a serialised story over several years and published it that way. This prosaic openness of the narrative is underlined not least by the fact that the novel does not end with the death of the title character. My own version, on the other hand, has to be limited to the time frame of a theatre performance. The interesting challenge of my work leading up to the premiere was to bundle as many levels of meaning in the novel as possible in such a way that they remain intuitively comprehensible to the audience."
Music: Peter I. Tchaikovsky, Alfred Schnittke, Cat Stevens / Yusuf Islam Choreography, set design, lighting and costumes: John Neumeier Anna Karenina wears A-K-R-I-S- / Albert Kriemler
Link to registration follows
Panel discussion: John Neumeier and Albert Kriemler
7:30 pm, SQUARE Stage, 2nd floor Moderator: Tim Kramer
Contemporary dance meets international fashion design: John Neumeier, founder and artistic director of the German National Youth Ballet, meets Albert Kriemler, creative director of the St. Gallen fashion house Akris. The two share a long-standing working relationship and a close friendship.
The discussion will focus on their artistic collaboration, but also on the question of how training and promoting young talent enables excellence. You will gain an insight into the Federal Youth Ballet as a training centre and springboard for young dancers.
What can the different disciplines learn from each other? What role does education play in artistic innovation? And how important is interdisciplinary exchange for future professional life? John Neumeier and Albert Kriemler explore these and other questions under the direction of SQUARE director Tim Kramer.
In the first act, the Bundesjugendballett presents choreographies by its founder John Neumeier and its ballet master Raymond Hilbert, among others. Compiled by artistic director Kevin Haigen, the result is a mosaic of dance that showcases the stylistic range of the young company while interacting with the unique spatial conditions of the SQUARE.
As with all guest performances by the Bundesjugendballett, the programme selection is also intended as an artistic commentary on the respective venue: for the performance in St.Gallen, the company addresses the tradition of the textile industry in a specially developed piece, inspired by the history of the Kriemler family and the architectural features of the university.
Act 2: BJB Songbook
BJB Songbook – What We Call Growing Up is dedicated to the themes of growing up and self-discovery in an ever-changing world. The artistic concept was developed by Kevin Haigen, the musical concept by Aike Errenst. Together with various guest choreographers, they created a work that focuses on the dialogue between movement and sound, between inner voice and artistic expression. The lyrics by former Bundesjugendballett dancer Charlotte Larzelere add a literary dimension to the piece, giving poetic form to the thoughts, doubts and hopes of a young generation.
The selected songs are by influential singer-songwriters of the 20th and 21st centuries. Their lyrics exemplify the questions, longings and conflicts of young people: they tell of love and loss, of new beginnings, identity and the search for belonging. The result is a touching collage of dance, live music and language: a musical and dance diary about growing up, about what shapes us and about what we leave behind in order to move on.
In the first act, the Bundesjugendballett presents choreographies by its founder John Neumeier and its ballet master Raymond Hilbert, among others. Compiled by artistic director Kevin Haigen, the result is a mosaic of dance that showcases the stylistic range of the young company while interacting with the unique spatial conditions of the SQUARE.
As with all guest performances by the Bundesjugendballett, the programme selection is also intended as an artistic commentary on the respective venue: for the performance in St.Gallen, the company addresses the tradition of the textile industry in a specially developed piece, inspired by the history of the Kriemler family and the architectural features of the university.
Act 2: BJB Songbook
BJB Songbook – What We Call Growing Up is dedicated to the themes of growing up and self-discovery in an ever-changing world. The artistic concept was developed by Kevin Haigen, the musical concept by Aike Errenst. Together with various guest choreographers, they created a work that focuses on the dialogue between movement and sound, between inner voice and artistic expression. The lyrics by former Bundesjugendballett dancer Charlotte Larzelere add a literary dimension to the piece, giving poetic form to the thoughts, doubts and hopes of a young generation.
The selected songs are by influential singer-songwriters of the 20th and 21st centuries. Their lyrics exemplify the questions, longings and conflicts of young people: they tell of love and loss, of new beginnings, identity and the search for belonging. The result is a touching collage of dance, live music and language: a musical and dance diary about growing up, about what shapes us and about what we leave behind in order to move on.
Credits: Kiran West
Programm
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Past Performances:
Oleanna – A Powerplay
20, 21, 26, and 27 November
Oleanna – A Powerplay
20, 21, 26, and 27 November
The student Carol seeks support from her professor John. She doesn’t understand his book — and he cannot relate to her problems. Nevertheless, he offers to help her because he finds her likable. The power dynamics seem clear: on one side, the successful man, about to be appointed full professor and in the process of buying a new house; on the other, the shy but diligent student who struggles with the language of academia.
The conversation starts off distantly but gradually becomes more intense. They discuss the nature of understanding and judgment in society — as well as their own self-images and their place within it. It appears as if they have found a connection. Yet this appearance is deceiving: Carol has reported John to the appointment committee because of his behavior. The clarifying conversation turns into a verbal duel, where every word is dissected and every gesture interpreted.
David Mamet’s play, premiered in 1992, has lost none of its urgency. On the contrary: at a time when power relations in educational institutions, issues of cancel culture, and the role of language are being debated, Oleanna is more relevant than ever.
Written and performed by Wendy Michelle Güntensperger (acting), Tim Kramer (acting), and Melanie Oşan (direction and dramaturgy). In collaboration with Theater Liechtenstein.
